Monthly Archives: April 2011

Before Law and Order: Criminal Intentmoved from NBC to USA Network in 2007, I had written off the variation, choosing instead Law and Order: Special Victim’s Unit as my version of choice. I took notice of Criminal Intent as it shifted to cable, interested in seeing if it would change at all to fit the USA Network original programming brand. With the abundance of Law and Order: CI reruns that still pervade cable’s daytime schedules, it was (and still is) surprisingly easy to get sucked into Groren and Eames’s investigations. However, as Criminal Intent prepares to return to USA for its tenth and final season this Sunday with the ballyhooed return of the original detective partnership of Goren and Eames, I find myself drawn to the show as an outlier of the Law and Order franchise. It’s more “Law” than “Order,” going so far as to strike the lone Assistant District Attorney character after the fifth season to focus solely on the investigations and the (alternating) detective teams. The removal of the courtroom element imbues the detectives with an almost preternatural ability to get confessions from their suspects, aligning the lead detectives, particularly Det. Bobby Goren, with exceptional (male) investigator brethren like Columbo, Sherlock Holmes, or Adrian Monk.

Columbo informs Law and Order: Criminal Intent‘s format and characterization. The initial “twist” on the Law and Order formula that Criminal Intent advertised was the focus on the criminal in the opening scenes. Early episodes hewed closer to the inverted detective story that Columbo popularized on television, some going as far as showing the criminal committing the murder, providing all the information the viewer needed to establish dramatic irony (see: season one, episode five, “Jones”). The format connection between Columbo and Criminal Intent is “common knowledge” enough to be present in LO:CI‘s IMDb trivia page. Most later episodes show only a few scenes establishing the victim and general circumstances of the murder, keeping the culprit hidden to maintain the tension of a “whodunit” narrative.

A byproduct of this later obfuscation of the murderer is that the skills of the investigating detectives appear heightened, making deductive and inductive leaps based solely on their skills and the information shared by viewer and detective. This appears most often and explicitly regarding Det. Goren, a character who others repeatedly discuss as a genius. Jeff Goldblum’s Det. Nichols similarly gained the mantle of “genius” during his tenure as a CI lead detective but less emphatically than Goren and more as code for “successful eccentric.” The other alternating lead detective, Logan, was an import from the original Law and Order series and was characterized more as a stubborn but street-smart bruiser. Goren’s shadow fell over both detectives because of his “genius” and ability to wrench confessions from his suspects. Goren’s cerebral approach to detective work and D’Onofrio‘s performance of his awkward and lean-prone physicality also recall Columbo, particularly Peter Falk‘s portrayal of the eponymous detective as bumbling and physically askance. (Goran’s proclivity for leaning has even garnered a fan-made music video montage to “Lean Back.”) Goren even occasionally drops the famous “Just one more thing . . .” Columbo catchphrase when questioning his suspects.

I have thus far only discussed the male detectives; this is because only the male detectives are positioned as the lead detectives (and thus lead characters) on Criminal Intent. Though the characterization of the female detectives is strong–particularly with Eames’s multidimensionality–they are almost always primarily characterized in relation to their male partners. Logan, Nichols, and Goren often take the active role in the investigation with their female partner forced into a reactive role. Gender dynamics in the Law and Order franchise is deserving of much more attention than I can give here. I point out this focus on male lead detectives and their exceptional skills to highlight the perhaps closer connection Criminal Intent has with that mode of detective storytelling than the bi-valent Law and Order formula. Goren’s antecedents include Sherlock Holmes, Columbo, and Adrian Monk. I have argued previously that this exceptional individual take on Law and Order helps Criminal Intent fit with USA Network’s brand, a brand based explicitly on characters and heavily influenced by Monk‘s success. None of these detectives face the scrutiny of the courts within their narratives; their confessions only have to imply that they would lead to legal conviction. This format allows for the detectives to be exceptional without facing the realism of paperwork, technicalities, and courtroom arguments.

Though Law and Order: Special Victims Unit also focuses on the detectives, their partnerships are part of a team unit that also includes a clear connection to the legal system though their prominent ADA characters. Criminal Intent has been allowed to be an outlier to the formula–doing away with “Order” and focusing on an exceptional individual male detective– in part because it has been a network-outlier since its 2007 move from NBC and actually fits nicely into USA Network’s brand identity.